It is impossible to discuss Asha Bhosle without mentioning the word 'versatility', notes Dinesh Raheja.
Key Points
- Asha could inhabit both universes -- Khayyam's olde world melodies in Justuju Jiski Thi for Umrao Jaan as well as disco numbers like Jaane Jaan, Nisha and Disco Station.
- At 80, Asha agreed to play the central role in a movie, Mai, and garnered appreciation.
- At 90, Asha was headlining shows in Dubai which she likened to a Broadway musical.
- Even as she faced tragedies in real life when she lost her son Hemant and daughter Varsha, Asha relied on her music to help her continue her journey.
Asha Bhosle's death at 92 draws the curtains on one of our last remaining connects with the Hindi film music's gilded age when gigantic talents strode the recording studios. For an incredible 50-year timespan, the legendary singer was the undisputed queen of Hindi film music's naughty-saucy rock, pop and cabaret numbers.
So Much More Than A Cabaret Singer
From the 1950s nightclub showstopper (Mud Mud Ke Na Dekh) to 1960s rock (O Haseena Zulfon Wali) to 1970s cabaret (Monica O My Darling) to 1980s disco (Jawaani Jaanenan) to 1990s dance-offs (Dil Le Gayi Le Gayi), Asha was the sassy yin to her much-celebrated sister Lata Mangeshkar's sedate yang.
But it would be almost criminally unfair to strait-jacket Asha's legacy as an exponent of sprightly, sensual numbers for vamps like Helen in particular (O Haseena Zulfon Wali, Yeh Mera Dil), but also Bindu (Hungama Ho Gaya) and Aruna Irani (Chadhti Jawaani Meri).
The truth is that Asha Bhosle's 24-carat vocals have repeatedly animated every category of chartbusters, and for every major leading lady.
Asha's calibrated crooning immortalised fervent bhajans such as Tora Manwa Kyon Ghabraye Re filmed on Meena Kumari and Hey Rom Rom Mein Basne Wale Ram for Waheeda Rehman.
Her ringing laughter embellished comic songs for actresses such as Madhubala (Haal Kaisa Hai Janab Ka) and Hema Malini (Hawa Ke Saath Saath) Rekha has raved over her rendition of Umrao Jaan's landmark ghazals (Dil Cheez Kya Hai) but for decades the singer has imbued emotion into deeply felt renditions such as Ab Ke Baras Bhej Bhaiyya Ko Babul filmed on Nutan down to Kahin Aag Lage Lag Jaaye for Aishwarya Rai.
It is impossible to discuss Asha without mentioning the word 'versatility'.
A 14-Year Struggle for Recognition
Asha's success was unprecedented, but it was hard won. Unlike her elder sister Lata Mangeshkar's meteoric rise in the late 1940s, Asha had to struggle for 14 long years before reaching a position of eminence.
Music though was in her legacy. Asha was the third daughter born to a Gujarati mother and famed classical vocalist and Marathi stage actor Deenanath Mangeshkar. Her father's untimely demise in 1942 led to a nine-year old-Asha contributing to the family income by singing in Majha Baal (1943) made in Kolhapur. Asha even acted as a child artiste alongside Lata in Badi Maa (1945).
Her vocal flair had been burnished thanks to the classical music training from her father so it was only natural that Asha should turn to playback singing. The first Hindi song she gave playback for was in Chunariya (1948).
Success was not easy to come by in a field dominated by stalwarts such as Shamshad Begum, Amirbai Karnataki, Geeta Dutt and her elder sister.
Moreover, at the young age of 16, Asha defied her family and embarked on an ill-advised marriage with a much older Ganpatrao Bhosle that estranged her from the Mangeshkars for a decade.
Financial constraints meant that the new wife and mother had to continue trying her luck at singing. Times were tough. Asha has recalled her voice being rejected even mid-way through a recording.
Undeterred, Asha sang every song that came her way in the 1950s, slowly ascending the ladder of success, step by step. She sang her first hit club dance number Jeene Do Aur Jeeyo for second lead Sheila Ramani in the Dev Anand hit Taxi Driver (1954), followed by the popular Mud Mud Ke Ba Dekh for vamp Nadira in Shri 420 (1955).
Simultaneously, her impassioned renditions in an antithetical string of successful children's songs, Jagriti's Chalo Chale Maa and De Di Hamein Azaadi, Vachan's Chanda Mama Door Ke and Boot Polish's Nanhe Munne Bachhe vindicated her talent for communicating myriad shades of sentiment.
S D Burman and O P Nayyar: The Big Breakthrough
O P Nayyar's choice of Asha for all of leading lady Vyjayanthimala's songs in the 1957 blockbuster Naya Daur is often considered the singer's big breakthrough. But, in all fairness, due credit must be given to S D Burman for helping cement the Lata-Asha duo that was to rule the music world for decades.
In 1957, after a falling-out with Lata, Burman pivoted decisively towards Asha Bhosle to vocalise for the heroines in successes like Paying Guest and Nau Do Gyarah. Quick on the heels in 1958 came this composer-singer's collaborations in two Madhubala hits, Kaala Paani and Chalti Ka Naam Gaadi. The latter film's Haal Kaisa Hai Janaab Ka topped the Binaca Geetmala annual countdown that year.
Another biggie C Ramchandra made Asha the dominant voice in the V Shantaram hit, Navrang (1959). There was no stopping Asha now, with every 1950s-1960s music director serving up exquisite melodies for Asha to embellish with her vocal virtuosity.
S D Burman chose Asha to sing for protagonist Nutan in Sujata (1959) while Geeta Dutt voiced the songs filmed on the character actors. Ravi seemed to favour Asha's vocals as evidenced by their long string of their hit songs in Dilli Ka Thug, Chaudhvin Ka Chand, Waqt, Do Badan, Aadmi Aur Insaan and Dus Lakh.
The last film's Garibo Ki Sunoge won Asha her first Filmfare award.
Nayyar continued to conjure up smouldering songs for Asha in Aaiye Meharbaan, Ankhon Se Jo Utri Hai Dil Mein, Yeh Hai Reshmi Zulphon, Jaaiye Aap Kahan Jayenge and Aao Huzoor Tumko. Even Lata devotees such as Madan Mohan served up vocal challenges for Asha in two Sadhana starrers, Woh Kaun Thi's Shokh Nazar Ki Bijliyan which had Asha dazzling listeners with her operatic vocal gymnastics and Mera Saaya's perennially popular Jhumka Gira Re.
Shankar-Jaikishan employed Asha's voice to match reigning queens such as Vyjayanthimala (Sooraj) and Asha Parekh (Shikar's Parde Mein Rehne Do won Asha another Filmfare award).
Asha's Balancing Act and Enduring Legacy
Though Asha was in a position to pick and choose her songs from the 1970s onwards, she continued for several years to be among the busiest singers in Bollywood even after her second marriage to R D Burman. Her ability to deftly balance different genres and styles contributed to Asha's remarkable longevity.
Asha could match Zeenat Aman's zest in bangers like Dum Maaro Dum, but could also make listeners swoon with the romantic ardour she brought to Chura Liya Hai or Do Lafzon Ki Hai. Asha could sound tantalising paired with Helen in Kar Le Pyar Kar Le, but she could also sound sweetly playful singing for Hema Malini in Ghar Jaayegi Tar Jayegi.
Asha could inhabit both universes -- Khayyam's olde world melodies in Justuju Jiski Thi for Umrao Jaan as well as disco numbers like Jaane Jaan, Nisha and Disco Station.
Asha could give flight to Gulzar's gossamer soft lyricism in the R D Burman composed Mera Kuchh Saamaan and also add a dollop of hot sauce to Sridevi's sizzle in the potboiler Tohfa's Ek Ankh Maroon.
Even as she faced tragedies in real life when she lost her son Hemant and daughter Varsha, Asha relied on her music to help her continue her journey. She sang for a new generation of heroines like Urmila Matondkar (Tanha Tanha from Rangeela) and Kajol (Zara Sa Jhoom Loon from Dilwale Dulhaniya Le Jayenge).
When film music went through a creative dry patch around the new millennium, Asha mined melodic gold with several non-film albums including Dil Padosi Hai and Jaanam Samjha Karo besides forging international collaborations with stars like Boy George.
At the age of 80, Asha agreed to play the central role in a movie, Mai, and garnered appreciation.
She became a restaurateur, opening a chain of successful eateries named Asha's.
At 90, Asha was headlining shows in Dubai which she likened to a Broadway musical. Ever the eternal optimist, she was looking forward to more achievements. Despite her colossal talents, Asha was often compared to her sister Lata. That is a matter of opinion but for legions of her fans, Asha will always be the first among equals.
Photographs curated by Satish Bodas/Rediff
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